Ada M. Patterson: to be rewritten on banana leaves / 12 May - 25 June 2022
Exhibition view
Ada M. Patterson, Kanga for the Present (THE WHOLE WORLD IS TURNING), 2019, Mixed media, inkjet on cotton, 100 X 140 cm
Exhibition view
Ada M. Patterson, Kanga for the Present (INFINITE GROWING, INFINITE YEARNING), 2019, Mixed media, inkjet on cotton, 100 X 140 cm
Ada M. Patterson, The Whole World is Turning (still from video), 2019, Digital video, 00:21:02
Exhibition view
Ada M. Patterson, Buchibushi (still from video), 2019, Digital video, Performance, 00:09:40
Exhibition view
|
Copperfield is pleased to present to be rewritten on banana leaves, the first UK solo exhibition by Ada M. Patterson (Bridgetown, 1994), artist and writer, based between Barbados and Europe. Patterson was included in Tate Britain's landmark exhibition “Life Between Islands” and had her first institutional solo exhibition at TENT, Rotterdam in 2020.
Through addressing the complex nature of bodies queered by crisis, bodies passed over as invisible and disposable, bodies confronted with the physical realities of a world not designed for their survival, Patterson's work attempts to find elegy for figures and moments already fading away. Presented for the first time in London, the video work The Whole World Is Turning centers the exhibition around a queer retelling of hurricanes. This work was conceived by Patterson after Hurricane Dorian hit the Caribbean and devastated the Bahamas in the autumn of 2019, leaving a wake of material and emotional turmoil. Tropical hurricanes have always played a key part in the social fabric of life and death within the Caribbean, which is one of the front lines of the climate crisis. Yet rising sea levels and temperatures continue to exacerbate the destructive effects of hurricane season. Rather than casting the hurricane as a malignant force of nature to blame, or a spirit of revenge to curse, Patterson casts it as a regular visitor and familiar guest disorientated. Personified with a swollen eye the hurricane appears confused and unable to explain herself. Perhaps we should view the erratic behavior she exhibits, as well as our own erratic experiences, as symptoms of our world being caught in the crosshairs of climate imperialism rather than her as the primary agent of destruction. The devastating impact of Dorian also partially inspired Patterson’s Kanga for the Present textile works which bring contemporary inspiration to this East African ancestral garment tradition. This is a deeply personal project, conveying the life experiences and reflections of the artist through the garment they wore as a child – introduced to kanga by her mother. Each kanga has a naming phrase upon it which prays, prophesies, hopes, wishes, blesses, laughs, mocks, criticizes, warns, teaches, imagines, protects or curses. Traditionally, someone would gift a kanga to a person for whom its name is meaningful. The artist began making kanga as a means to find what little words they could muster for what was happening across the Caribbean, what will continue to happen in our climate-queered world, in our world queered by crisis. Kanga for the Present materialises thoughts, words, and experiences as gifts given to the world out of love, regardless of how soft, tough, or just simply complicated that is. Accompanying The Whole World is Turning, flanked by kanga, another video work paired with a textile pitchfork sculpture is Buchibushi. This film tells the quasi-allegorical story of an aloe farmer born from scorched earth, and of what drought-affected riverbeds and other dwindling bodies of water may be able to teach humanity in a fast changing world. Tending to a plot of aloe, a crop known for its resilience and healing properties the protagonist and the film provide a little hope while grieving for a world that may be beyond repair. Opening Wednesday 11 May, 6 - 8.30 pm The exhibition runs Wed - Sat, 12 - 6pm until 25 June 2022 --- ADA M. PATTERSON b. 1994, Bridgetown, Barbados. Lives and works in between Rotterdam, Barbados and London. Ada M. Patterson (b. 1994, Bridgetown) is an artist and writer based between Barbados, London and Rotterdam. She works with masquerade, performance, poetry, textiles and video, looking at the ways storytelling can limit, enable and complicate identity formation. Her recent work considers grief, elegy writing and archiving as tools for disrupting the disappearance of communities queered by different experiences of crisis. Patterson was the 2020 NLS Kingston Curatorial and Art Writing Fellow. Recent exhibitions include ‘Life Between Islands: Caribbean-British Art 1950s – Now’ at Tate Britain, London and 'The Whole World is Turning' at TENT, Rotterdam. Her writing has featured in Sugarcane Magazine, PREE, Mister Motley and Metropolis M. Upcoming projects include the exhibition at the Art Gallery of Burlington, Ontario, Canada, the residency 'Live Works" at Centrale Fies, Dro, Italy, and the publication 'Accessories to this love' included in 'The Material Kinship Reader' by Clementine Edwards & Kris Dittel, published by Onomatopee (Eindhoven, NL). Patterson’s solo exhibitions include Kanga for the Present, Manifold Books, Amsterdam, Netherlands (2022), Hotel Maria Kapel, Hoorn, Netherlands (2021), The Whole World is Turning, TENT, Rotterdam, Netherlands (2020), Things You Threw in the Gully, Roodkapje Rotterdam, Netherlands (2019) Her group exhibitions include Here Comes the Sun, Art Gallery of Burlington, Ontario, Canada (2022, forthcoming), Life Between Islands: Caribbean-British Art 1950s – Now, Tate Britain, London, UK (2021-22), Worlds between Words, Showroom MAMA, Rotterdam (2021), In the Eye of the Storm, Z33 Kunstcentrum, Hasselt Belgium (2021), Re: Re: Re: Re:, Mourning School, Galleri Nef, Stockholm, Sweden (2021), Departures, Expoplu, Nijmegen, Netherlands (2020), To that Special Someone, part II, Hotel Maria Kapel, Netherlands (2020), Mood Ring, Roodkapje Rotterdam, Netherlands (2019), Edge of an Era: Archive, Live Art DevelopmentAgency, London, UK (2019), Sailors, Alice Yard, Port-of-Spain, Trinidad & Tobago (2019), Sensational Bodies, Jerwood Space, London, UK (2018), Caribbean Linked V, Caya Grandi & Ateliers ’89, Oranjestad, Aruba (2018), I’m Not Who You Think I’m Not #14, Berlin Biennale X, ZKU, Berlin, Germany (2018), Artistic Interventions, The Barbados Museum & Historical Society, Bridgetown, Barbados (2018), Punch-In 2 Reveal, Morningside Gallery, Barbados (2018), Transoceanic Visual Exchange, Fresh Milk Art Platform, Barbados (2017), Sonic Soundings: Venice Trajectories, 57th Venice Biennale, Venice, Italy (2017) Patterson had been selected for artist residencies internationally, including: LIVE WORKS Free School of Performance, Centrale Fies, Dro, Italy (2022, forthcoming), PREE Writers Workshop, Kingston, Jamaica (2022, forthcoming), CCA Glasgow + Primary Performance Residency, Barbados (2022), On Shelter, Hotel Maria Kapel, Hoorn, Netherlands (2021), NLS Kingston Curatorial Fellowship, Kingston, Jamaica (2020) |